Boxoffice (Apr-Jun 1939)

A NOTEWORTHY and highly commendable contribution to Hollywood’s still unofficial Americanization campaign is the “Merrie Melodie” yclept “Old Glory” which Producer Leon Schlesinger has rushed to completion for a July 4 release by Warner. Filmed in Technicolor, masterfully animated and edited, and treated to an exceptionally stirring musical score, this nine minutes of light, but topnotch, entertainment can conceivably accomplish more in impressing Americans — particularly the younger generations — with their many democratic advantages than some of the featurelength, more ponderous and provocative documents undertaking comparable preachments. It is the first cartoon devoted to the currently popular production pastime of selling America and its benefits to her own citizens, and clearly indicates that more of its ilk would not be amiss; particularly in view of the fact that Metro has shelved plans for the production of Sinclair Lewis’ “It Can’t Happen Here,” that Warner might similarly treat “Boycott,” “Underground” and “The Bishop Who Walked With God,” all four of which have been acclaimed as formidable broadsides in the Americanization campaign. The recent official bulletin of the Screen Actors Guild informs members that all players wearing fur pieces of fur coats in group atmosphere scenes are entitled to a daily emolument of $16.50. Some studios, it is claimed, have avoided the payment of $16.50 by calling women on $8.25 and $11.00 checks in the expectancy that a percentage will wear furs anyway. Ruling should precipitate a decided bull movement in the local skunk market. And what about the beavers that adorn the chins of the synthetic cowhands who frequent Poverty Row — er, pardon please, Columbia Square? The same bulletin informs members that, when they are asked to serve as interpreters on the set, they should make every effort to collect paychecks over and above the amount paid them for their regular acting assignments. Which is probably applicable to all extras who work in pictures directed by Gregory Ratoff or Michael Curtiz. Paramount publicists aver that “scoffers at the athletic ability of motion picture stars received a setback” because Fred MacMurray is a member of the five-man skeet team of the Los Angeles-Santa Monica Gun Club. One of these virile, hairy-chested heman Thespics might win the national tiddeldy-winks championship any day now. So there! Victor Shapiro had seven stitches taken in his head when, on the last day of his service as publicity chief of Selznick International, an arc lamp dropped on him while he was visiting a set. Just to make sure that his resignation was effective? Paramount is reported angling for the screen rights to Zane Grey's "George Washington, Frontiersman," as a parallel to 20th Century-Fox's “Young Mr. Lincoln." If the early lives of great men are to be considered as inspiration for screenplays, other suggested vehicles might include: “Ben Franklin, Printer's Devil," “Ulysses S. Grant, Harness Maker," or even “Samuel Goldwyn, Glove Salesman." Considerable of a victory for color motion picture photography lies in the announcement that Cecil B. DeMille’s next Paramount production, “Royal Canadian Mounted Police” — the first under his new four-year pact — will be filmed in Technicolor. DeMille has been one of the industry’s bitterest opponents to the use of color, having until recently been on record with the opinion that tints detract from, rather than enhance, the entertainment values of motion pictures. Paramount and Programmers It was definitely Paramount week in both social and preview circles, the company’s annual sales convention having been responsible for staking out the former claim, while the Jack Benny starrer, “Man About Town,” easily took care of the latter. “Man About Town” romped home with top honors in the debut sweepstakes, a distinction it could have garnered in a more competitive field. It is the most advantageous screen vehicle yet concocted to parade the comedy talents of Waukegan’s gift to radio and films and, with its blend of mirthful story situations, deftlytimed gags and lavishly-staged production numbers, should be reckoned a strong stimulant to ailing summer boxoffices. Sensationally evident in support is one Eddie Anderson, better-known as Rochester, whose laugh-garnering delivery stamps him as promising screen material. Morrie Ryskind’s well-tailored screenplay was written from an original by himself, Allan Scott and Z. Myers, and, placed in the directorial hands of Mark Sandrich, was intelligently transferred to the screen. The finished package is a definite feather in the cap of Producer Arthur Hornblow jr. * * * Among the five features rounding out the sextette which bowed to reviewers, there was none which could be subjected to severe criticism, each qualifying ably for the entertainment niche at which it was directed. Certain to add lustre to any program, despite its unassuming appellation as a program attraction, is 20th Century-Fox’s “It Could Happen to You.” Packed with down-to-earth, appealing situations is the exceptionally well-developed script from the typewriters of Allen Rivkin and Lou Breslow. It is a warm blend of comedy and melodrama, well-suited to the talents of Stuart Erwin, and can safely be guaranteed as more than satisfactory for any type of audience. Close cooperation between Producer David Hempstead and Director Alfred Werker, apparent throughout, was a strong contributing factor to the film’s above-par rating. RKO Radio has a suspenseful, melodramatic bundle of entertainment in “Five Came Back,” charged with a battery of fine performances, a well-executed script by Dalton Trumbo, Jerry Cady and Nathanael West and briskly-paced direction by John Farrow. A Robert Sisk production, it should attain better-than-average grosses. Replete with backstage phantoms, attendant spine-chilling elements and a gentle sprinkling of relieving comedy, Uni versal’s “The House of Fear” is first-rate fare of its type, solidly produced by Edmund Grainger and directed by Joe May with an eye to action and fast-moving dialogue. Peter Milne fashioned the script from a play by Thomas F. Fallon, which was based, in turn, upon a novel by Wadsworth Camp. The enormous army of Gilbert and Sullivan fans throughout the world will have no cause to express disappointment with Universal’s English production of “The Mikado,” one of the best-known of the G. and S. operettas. Topnotch singing and acting, and quaint costuming enhanced through the Technicolor process, class it as an out-of-the-or dinary screen treat for the discriminating clientele. Some difficulty may be encountered, however, in selling it to average small-town audiences who will find but one American name, that of Kenny Baker, in the cast. Victor Schertzinger directed. Monogram upheld the honor of the plains with a standardly acceptable Tex Ritter musical western, “Down the Wyoming Trail,” which can be chalked up as another fast-moving sagebrusher in the time-honored outdoor formula. Director A1 Herman made action his keynote. Ed Finney produced from an original screenplay by Peter Dixon and Roger Merton. BOXOFFICE :: June 17, 1939 35